Suryaprakash@rathnagireeshwarar temple on Feb 01st,2018
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Vocal: Suryaprakash
Violin : BU Ganesh Prasad
Mrudangam : Tanjore Murugabhoopathy
kanjira : KV Gopalakrishnan
Concert Type : Nirvana - No concert to follow
Day/Duration : Thursday/ 2 hours and 35 + mins
Concert Type: Free Concert
Hall : Besant Nagar - rathnagireeshwarar temple
Occassion : Part of yearly festival for 15 days
1. sivalOka nAthanai (R S) - mAyamAlavagowlai - GKB
2 mins alapana and 5 mins swaras
2. nee bhajana gAna - nAyaki- T
3. meenAkshi mE mudham (R N S) - poorvikalyani(gamakakriya) - MD
13 mins alapana and 5 mins violin return
8 mins neraval in meenalOcani pAshamOcani mAnini kadambavanavAsini
9 mins swaras
4. enraikku siva kripai - mukhari - Neelakanta sivan
5. orajupu(S) - kananadagowlai - T
8 mins swaras
6A. tiruvadi saranam (R N S T) - KAmbOdhi - GKB
17 mins alapana and 9 mins violin return
neraval in aDuttu vanda ennai taLLalAgAdu ara harAvenru shonnAlum pOdAdO for 8 mins
swaras for 12 mins
6B.tani for 10 mins
7A. viruththam - kannerum varAdhu karmavinai theerAdhu - kApi + sindhubhairavi+ Aananda Ragam - Thirukooda Rasappa Kavirayar
7B. azhagiya mayilinil - aananda ragam - Composer ?? (popularized by madurai somu)
.......
.......
some one can fill up post 7 , i had to leave as it was late.
Suryaprakash@rathnagireeshwarar temple on Feb 01st,2018
-
rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Suryaprakash@rathnagireeshwarar temple on Feb 01st,2018
Last edited by rajeshnat on 03 Feb 2018, 08:46, edited 1 time in total.
-
rajeshnat
- Posts: 10144
- Joined: 03 Feb 2010, 08:04
Re: Suryaprakash@rathnagireeshwarar temple on Feb 01st,2018
Rathnagireeshwarar temple concerts do have its own aesthetic charm . With most of the numbers on the presiding diety Siva, the artist indeed do their homework .Nevertheless with suryaprakash apart form drop of different krithis and range of composers, there is a lot of onspot ideation and spontaneity in the stage.
The first number was a great start , the mmg alapana was bit more than raga sketch but without getting into violin return the launch of sivaloka nathanai was lovely. GKB lines in thamizh are lovely and more importantly the mmg shine comes in its own highly expressive - lightly sedate gestalt . Swaras were bit explosive , all along the mmg was showcasing his less marketed semmangudi school.
I did not like the nayaki krithi that much as the sound adjustments were bit goofed up.i just heard more KVG and bhoopathy and i felt suryaprakash was bit more of a upa upapakkavadhyam. In any case the nayaki number was just a rendition of only krithi , i prefer bit more creative exploration of swaras as #2 , unless you take some musically more elaborate and intense number, i am okay . It was not that satisfying #2.
From poorvikalyani to the end of KamboDhi everything was fantastic. Thanks to sound engineer he adjusted the sound perfectly the sharpness to vocal mike was slightly jacked and possibly the same offset of little tad reduced volume for percussion did indeed made it perfect .
Poorvikalyani can be handled in its usual sloppy drowsy circuituous curves , but if you show a bit rather much more color with more brigas they sound lovely. THe alapana was well done and I was not expecting meenakshi me mudham as submain. Ganakaladhara MMI has sung in his academy sangeetha kalanidhi concert the meenakshi me mudham as submain was my faint recollection . I have not heard yet in the last 15 years in a live concert where meenakshi me mudham is pushed as a submain but it was lovely It certainly shows the stamina angle and confidence . With the elaboration of meenalochani neraval it was a finest of fine aesthetic crescendo , to the best of my knowledge i have heard him sing the other popular hotspot of madura puri nilaye , I guess such pristine dikshitar krithis you can perhaps take anyline such is the inbuilt oomph that Dikshitar has given to gamakaMagickriya raga. The charge was indeed there and BUgp-Bhoopathy-KVG indeed kept it in full drive mode . Swaras were fanstastic just as i felt it was almost over he cameup with another round of longer patterns .Certainly the neraval and swaras in meenalochani was the second top highlight for me.
THe slow number in mukhari was started in the anupallavi line kanril kural and mukhari sounded extremely nadaswara pidi there in a bit slow motion mode more like slow paced nadaswara players like vedaranyam vedamurthy . The slow number went next with a superb fast number . That 8 min segment of fast swaras in kannadagowlai -orajupu krithi was brilliant and extremely deep in aesthetics with lovely control . What a lovely canvas of sarvalaghu ideas , I have atleast 5 or 6 experiences in the last 15 years to hear a lot of orajupu. The sarvalaghu mmi way came in only the vazhi but the patterns were extremely original and extremely onspot manodharma. At some point around 3rd or 4th minute bhoopathy and KVG were on a roll with his fast paced steady paced pattern and the swara ideas with almost zero or minimal violin return were superb .
KambOdhi followed after Poorvikalyani, mukhari and kannadagowlai . Another uphill krithi was taken and tiruvadi saranam was sung after another extremely exhaustive and aesthetic alapana-right mix of voice power to carefully not sound too loud . IDeaas in kamboDhi were flying in multiple dimensions and with a very short and miniscule touch ups of BUGP and with no intrusion , kambOdhi tiruvadi was beautifullly song. THe song start was on a slightly slow pace - a touch of KVN rather MMI was there. Nevertheless the song tiruvadi saranam with aduthu vandu had a long runway for accompanist to show case their skills . kAmbodhi swaras after few short bursts with a short touch in ga ma pa ma gA went into a very long mode where when suryaprakash sings all 3 accompanists paused and then all of them got together .That kind of rotation where vocalist sings with no percussion and then the accompanist join for a *longer* cycle of swaras is a very ganakaladharish school persona and I loved it.
THe viruththam was very emotive and I think he mentioned the name of the composer was kutralakuranji composer- Thirikooda Rasappa Kavirayar. Designer viruththam with kapi start never lets you down and he wrapped with an intense emotive number azhagiya mayilinil in anandha ragam after potpouri sindhubhairavi.Madurai somu mesemerized in 60's and 70's with this azhagiya mayilinil and this rendition was also very heavy in emote especially lines like tani vazhi pogayile .. thakka thunai irukka, if my memory is right Aruna sairam sings it . This number is extremely janaranjakam and I discovered this aananda ragam has a contour and undulation overlap with basant bahar . The emote syrup was extremely high and with lovely thamizh words and connection with lord muruga it is indeed triple bonus.
Ganesh Prasad is such a steady bug free accompanist, he focusses on the right press , he may slightly err on speed but that is okay with such high fidelity of ragabhavam. Poorvikalyani presss was heavenly i could get the VVS touch very much there and for many of the patterns he ends with the mmi crescendo like orajupu, kambodhi etc he did a fine job. What i immensely like about him is he gives only a sketch and does not take too much of clock cycle so to that extent he ups the concert. He is a darkhorse in the violin circuit
Bhoopathy is a sarvalaghu champ all the way , he has fast fingers and I liked his play so much especially in kannadagowlai swaras and poorvikalyani neraval and swaras . I just felt in the first half of kambOdhi he could have played bit more keezh kala rhythmmic taps , i found for a brief 5 to 10 mins in calmbOdhi krithi he was slightly going bit more mel kaalam with stormbodhi patterns bordering on slight vOttam. KVG is seasoned and he enjoys every bit of opportunity and he also enjoys every bit of silence, he was in full flow in orajupu which was indeed the pick . I did not hear the tani as i had to be bit out for a significant part but the crowd acknowledged their tani with a lot of positive vibe.
Suryaprakash is certainly peaking definitely with more voice quality, the Nerval and Swaras as usual are always on spot manodharmam. The vilambit is getting into a zone of extreme aesthetics and I am able to spot bit more demonstrative voice strength in lower octaves . IT was around 9 10 pm i had to leave from besant nagar, I am assuming he must have sang one or two numbers post azhagiya mayilinil.
Small request to the committee of rathnagireeshwarar temple
-----------------------------------------------------------
I just saw in facebook that this temple is publishing concert schedule . I would prefer you to start the concert at say 06:00 or may be 06:15 not 06:30, after all it is only mahasivarathri series .Great going and I am also glad that you kept up with the speech bit short.
Overall an excellent concert for 2 hours and 35 + minutes.
The first number was a great start , the mmg alapana was bit more than raga sketch but without getting into violin return the launch of sivaloka nathanai was lovely. GKB lines in thamizh are lovely and more importantly the mmg shine comes in its own highly expressive - lightly sedate gestalt . Swaras were bit explosive , all along the mmg was showcasing his less marketed semmangudi school.
I did not like the nayaki krithi that much as the sound adjustments were bit goofed up.i just heard more KVG and bhoopathy and i felt suryaprakash was bit more of a upa upapakkavadhyam. In any case the nayaki number was just a rendition of only krithi , i prefer bit more creative exploration of swaras as #2 , unless you take some musically more elaborate and intense number, i am okay . It was not that satisfying #2.
From poorvikalyani to the end of KamboDhi everything was fantastic. Thanks to sound engineer he adjusted the sound perfectly the sharpness to vocal mike was slightly jacked and possibly the same offset of little tad reduced volume for percussion did indeed made it perfect .
Poorvikalyani can be handled in its usual sloppy drowsy circuituous curves , but if you show a bit rather much more color with more brigas they sound lovely. THe alapana was well done and I was not expecting meenakshi me mudham as submain. Ganakaladhara MMI has sung in his academy sangeetha kalanidhi concert the meenakshi me mudham as submain was my faint recollection . I have not heard yet in the last 15 years in a live concert where meenakshi me mudham is pushed as a submain but it was lovely It certainly shows the stamina angle and confidence . With the elaboration of meenalochani neraval it was a finest of fine aesthetic crescendo , to the best of my knowledge i have heard him sing the other popular hotspot of madura puri nilaye , I guess such pristine dikshitar krithis you can perhaps take anyline such is the inbuilt oomph that Dikshitar has given to gamakaMagickriya raga. The charge was indeed there and BUgp-Bhoopathy-KVG indeed kept it in full drive mode . Swaras were fanstastic just as i felt it was almost over he cameup with another round of longer patterns .Certainly the neraval and swaras in meenalochani was the second top highlight for me.
THe slow number in mukhari was started in the anupallavi line kanril kural and mukhari sounded extremely nadaswara pidi there in a bit slow motion mode more like slow paced nadaswara players like vedaranyam vedamurthy . The slow number went next with a superb fast number . That 8 min segment of fast swaras in kannadagowlai -orajupu krithi was brilliant and extremely deep in aesthetics with lovely control . What a lovely canvas of sarvalaghu ideas , I have atleast 5 or 6 experiences in the last 15 years to hear a lot of orajupu. The sarvalaghu mmi way came in only the vazhi but the patterns were extremely original and extremely onspot manodharma. At some point around 3rd or 4th minute bhoopathy and KVG were on a roll with his fast paced steady paced pattern and the swara ideas with almost zero or minimal violin return were superb .
KambOdhi followed after Poorvikalyani, mukhari and kannadagowlai . Another uphill krithi was taken and tiruvadi saranam was sung after another extremely exhaustive and aesthetic alapana-right mix of voice power to carefully not sound too loud . IDeaas in kamboDhi were flying in multiple dimensions and with a very short and miniscule touch ups of BUGP and with no intrusion , kambOdhi tiruvadi was beautifullly song. THe song start was on a slightly slow pace - a touch of KVN rather MMI was there. Nevertheless the song tiruvadi saranam with aduthu vandu had a long runway for accompanist to show case their skills . kAmbodhi swaras after few short bursts with a short touch in ga ma pa ma gA went into a very long mode where when suryaprakash sings all 3 accompanists paused and then all of them got together .That kind of rotation where vocalist sings with no percussion and then the accompanist join for a *longer* cycle of swaras is a very ganakaladharish school persona and I loved it.
THe viruththam was very emotive and I think he mentioned the name of the composer was kutralakuranji composer- Thirikooda Rasappa Kavirayar. Designer viruththam with kapi start never lets you down and he wrapped with an intense emotive number azhagiya mayilinil in anandha ragam after potpouri sindhubhairavi.Madurai somu mesemerized in 60's and 70's with this azhagiya mayilinil and this rendition was also very heavy in emote especially lines like tani vazhi pogayile .. thakka thunai irukka, if my memory is right Aruna sairam sings it . This number is extremely janaranjakam and I discovered this aananda ragam has a contour and undulation overlap with basant bahar . The emote syrup was extremely high and with lovely thamizh words and connection with lord muruga it is indeed triple bonus.
Ganesh Prasad is such a steady bug free accompanist, he focusses on the right press , he may slightly err on speed but that is okay with such high fidelity of ragabhavam. Poorvikalyani presss was heavenly i could get the VVS touch very much there and for many of the patterns he ends with the mmi crescendo like orajupu, kambodhi etc he did a fine job. What i immensely like about him is he gives only a sketch and does not take too much of clock cycle so to that extent he ups the concert. He is a darkhorse in the violin circuit
Bhoopathy is a sarvalaghu champ all the way , he has fast fingers and I liked his play so much especially in kannadagowlai swaras and poorvikalyani neraval and swaras . I just felt in the first half of kambOdhi he could have played bit more keezh kala rhythmmic taps , i found for a brief 5 to 10 mins in calmbOdhi krithi he was slightly going bit more mel kaalam with stormbodhi patterns bordering on slight vOttam. KVG is seasoned and he enjoys every bit of opportunity and he also enjoys every bit of silence, he was in full flow in orajupu which was indeed the pick . I did not hear the tani as i had to be bit out for a significant part but the crowd acknowledged their tani with a lot of positive vibe.
Suryaprakash is certainly peaking definitely with more voice quality, the Nerval and Swaras as usual are always on spot manodharmam. The vilambit is getting into a zone of extreme aesthetics and I am able to spot bit more demonstrative voice strength in lower octaves . IT was around 9 10 pm i had to leave from besant nagar, I am assuming he must have sang one or two numbers post azhagiya mayilinil.
Small request to the committee of rathnagireeshwarar temple
-----------------------------------------------------------
I just saw in facebook that this temple is publishing concert schedule . I would prefer you to start the concert at say 06:00 or may be 06:15 not 06:30, after all it is only mahasivarathri series .Great going and I am also glad that you kept up with the speech bit short.
Overall an excellent concert for 2 hours and 35 + minutes.